Auteurs : Cirque du Soleil (Artiste) ; Ste-Croix, Gilles (Mise en piste) ; Dragone, Franco (Directeur artistique)

Lieu de publication : Montréal

Date de publication : 1996

Langue : Français;Anglais

Sujets :
Cirque du Soleil [compagnie de cirque]
Compagnies de cirque - Québec (Province)
Quidam [spectacle de cirque]

Remerciement au donateur : Cirque du Soleil

Collection : Bibliothèque de l'École nationale de cirque

Localisation : Programmes de spectacle

Cote : SOL-1996

Ex. 1 — disponible

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Sur le même sujet

The chinese connections : the transnational origins of québécois circus arts
Zarkana [juin 2013]
Zumanity [juin 2016]
Circus in Action: Exploring the Role of a Translation Zone in the Cirque du Soleil's Creative PracticesThis article explores the process of knowledge production and creativity in the circus. In particular, it examines how the Cirque du Soleil has been able to forge an innovative and novel tradition of circus arts by drawing upon knowledge and competencies from the related fields of sport, circus, dance, and theater. Using the notion of translation developed in actor network theory, we trace how a variety of actors and entities, including both human and nonhuman actants, are enrolled in the creation of a contemporary circus performance. We explore how power and agency are distributed in the networks that foster creativity in the circus, highlighting their inherently unstable and precarious nature, and how the Cirque has created an open and unbounded space that accommodates fluid exchanges between actants (what we call a translation zone). [authors summary]
Wintuk [octobre 2007]
Motives of circus attendees in South Africa : The case of Cirque du Soleil DralionThe purpose of this research was to determine the motives of attendees to Cirque du Soleil’s Dralion production in a developing country. The results revealed five key motives, namely uniqueness, enchantment and aesthetics, fun and entertainment, socialisation and social status and act affiliation. Clustering based on these motives revealed three distinct clusters namely Enthusiasts, Novices and Observers. These clusters show that attendees are not homogeneous in terms of their socio-demographic and behavioural profiles. While the Enthusiasts and Observers displayed similar characteristics to other clusters found in previous research, this research made a clear contribution in identifying Novices as a new emerging segment and suggesting the implications of retaining and expanding this market. The findings of this research can greatly assist marketers of these types of production to expand interest in the arts and increase accessibility to a larger audience [author summary]

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